Voices United: On Sunday, May 18th, The Cathedral Choral Society under the direction of Steven Fox shared in an extraordinary afternoon of music with the acclaimed men’s ensemble Chanticleer.
by Patrick D. McCoy
The singing voice is one of those rare musical gifts that can reach places where mere words fall short. In the times we find ourselves in, few experiences are as enriching as an afternoon with the mellifluous voices of the Cathedral Choral Society and Chanticleer, their music echoing through one of the world’s most awe-inspiring architectural marvels. Under the direction of Steven Fox, the Cathedral Choral Society opened the program with Aaron Copland’s In the Beginning. Setting the tone for an afternoon of all a cappella music, the piece carried the audience on a stirring musical journey through the story of Creation.” The work, divided into seven distinct movements painted a rich tapestry from one musical vignette to the next, narrating the mystical story. Mezzo-soprano Aryssa Burrs brought remarkable clarity to her voice, subtly shifting the thematic tone. From the purity of her sound to the long, legato phrases that gently intertwined with the chorus, her performance worked hand in hand with the ensemble to convey the depth of the biblical narrative. As the music built toward its dramatic conclusion, the chorus swelled with power and purpose, echoing the words, ‘and man became a living soul.’ In that final, resonant moment, the story of Creation came to a brilliant and stirring close.
There was a distinctly different kind of bustle and excitement surrounding this particular concert. The world-acclaimed male ensemble Chanticleer was up next, set to perform eight pieces—each evoking its own unique sense of musical pathos. Among these pieces, several gems stood out. Taking us back to an earlier period in music were Guillaume de Machaut’s Gloria and William Byrd’s Vigilate. Both works highlighted the ensemble’s remarkable ability to shift between contrasting tones, while seamlessly blending voices in a style true to their respective eras. The spiritual Poor Pilgrim of Sorrow, arranged by former Chanticleer music director Joseph H. Jennings, was a profound offering of emotional depth. Soloist Cortez Mitchell delivered a rich, full-bodied countertenor, his beautifully centered tone infused with expressive nuance. The piece was met with enthusiastic applause from the audience, and Mitchell—a proud graduate of nearby Morgan State University—received an extended ovation. This is My Song, more widely known as Finlandia, proved to be an especially poignant piece, given the turmoil and unrest in today’s world. Its powerful message of unity and peace struck a deep chord with the audience. Without a Song, arranged by Stacey V. Gibbs, brought the set to a joyful close, serving as a reminder of the profound role music plays in our lives. The piece eloquently affirmed that the road ahead feels far longer without the comfort of song.
The Cathedral Choral Society returned to the stage to join forces with Chanticleer for the timeless Ave Maria by Franz Biebl. A staple in the choral repertoire, particularly for renowned glee clubs like those of Cornell, Yale, and Morehouse, this fresh arrangement highlighted the unique blend of Chanticleer’s distinctive sound with the full SATB voices of the Cathedral Choral Society, all conducted by Steven Fox. Ending the concert was “Wildflowers” by Tom Petty conducted by Chanticleer music director Tim Keeler.
This collaboration made for a memorable afternoon of music. There was a joyful expectation that seemed to pour from the audience and that was rewarded in return with a meaningful experience.
A native of Petersburg, VA, Patrick holds a BM in Vocal Performance from Virginia State University and a MM in Church Music from Shenandoah Conservatory. Formerly the Performing Arts Columnist for Washington Life Magazine, he currently is a freelance writer, publishing articles for several noted publications and organizations, including The Washington Post, Early Music America, Classical Music Voice North America, The Afro-American Newspaper, Prince George’s Suite Magazine, CBS Washington, Examiner.com and Washington Classical Review. He holds membership in the Music Critics Association of North America, National Association of Negro Musicians, Inc., American Choral Directors’ Association, Association of Anglican Musicians, a former member of the Shenandoah University Alumni Board of Directors, a member of the Shenandoah University Black Alumni Network, Board Member of Early Music America, a Life Member of Alpha Phi Alpha Fraternity, Inc. and a member of the Sigma Zeta Chapter of Phi Mu Alpha Sinfonia Fraternity of America. As an alumnus of Shenandoah, he was named to the Dean’s Circle of the Shenandoah Conservatory Advisory Board. He enters his 8th year as Organist/Choirmaster at Saint John’s Episcopal Church, Zion Parish in Beltsville, MD. Patrick is the host of “Across the Arts” both a live and virtual media platform covering the performing arts. Visit http://patrickdmccoy.com and follow him on Facebook and Twitter @PatrickDMcCoy, IG: PDM06. and subscribe to “Across the Arts” on YouTube.